1.You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? The stasis is surrounded by the events that Henry David Hwang puts himself into as the play progresses. It starts off with him protesting the Broadway project of Miss Siagon for casting a white man for the Asian principle role. He then is in Boston producing his play “Face Value” while he unknowingly at the time casts a white man for his own production, which then leads us to the end where he ends up in California being the director of his father’s bank. In between these location he attends meetings, award ceremonies, interviews, lots of phone calls, and computer typing that all to add to the setting and environment of the play. The time period is between 1990 – 2005 during the time of Clinton administration and ends with the death of Hwang’s father.
2.Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Execution of Justice and how is it broken?
The intrusion is when Hwang casts Marcus as an Asian for his own production of “Face Value”. In the beginning of the play it is well that Henry David is an Asian artist who stands up for the artistic rights for Asian Americans who never had a true shot in making it in American theatre. Now he faces the repercussions of the double standard he places upon the community and is now responsible for the creation of the face swapping of the white to Asian face that the world now sees in Marcus. The choice he makes here on out are now going to reflect Henry’s true face.
3.Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this? The events are incredibly dependent on the actions of Henry David. The choice to stand up for the Asian Community during the “Miss Siagon” business and him refusing to attend rallies are example of my argument. Yes, he did not ask for his ex-girlfriend to pop up nor his father to offer him the position of director for his father’s bank; but the reactions to events determines his position in life and his views about racial identity. Basically, the choice to pull the race card and the freedom of art card are common arguments Henry David makes. He protests the Broadway production of “Miss Siagon”, then he gets offended with his co-director about questioning Marcus’s facial features not being Asian enough, then Henry David getting overly upset about Marcus not being Asian enough to be a part of the Asian community. 4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The question that must be answered ( that technically would not be answered at the end because it is a question Henry David probably cannot answer to this day ) … Does it even matter if one is a true or more true Asian? In the field of art, should one even be excluded because someone may not possess the true definition of Asian? 5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
Henry David wants to maintain an authentic identity in the Asian American community since a lot is at stake for him considering he has accomplished tremendous success in the field of theatre. The true obstacle that stands in his way are the actors who have mixed identities that technically ( in Henry David’s eyes ) are not Asian but bring true heart and breathe to his characters. He has a polished philosophy but when anyone questions it, his reactions do not ring true to his thought. He experiences Him against himself since he does a lot of self-reflecting because he knows that his actions do not coincide with his perspective. Him against society since he is unusually concerned with his reputation in his community that his pride shatters when others think ill of him. 6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face. The most theatrical moment for me was the decision for Marcus to expose his true identity to the public after the campaigning incident. Another one that was slightly less intense was the revelation of Marcus playing the iconic role of the King in “Th
The stasis is surrounded by the events that Henry David Hwang puts himself into as the play progresses. It starts off with him protesting the Broadway project of Miss Siagon for casting a white man for the Asian principle role. He then is in Boston producing his play “Face Value” while he unknowingly at the time casts a white man for his own production, which then leads us to the end where he ends up in California being the director of his father’s bank. In between these location he attends meetings, award ceremonies, interviews, lots of phone calls, and computer typing that all to add to the setting and environment of the play. The time period is between 1990 – 2005 during the time of Clinton administration and ends with the death of Hwang’s father.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Execution of Justice and how is it broken?
The intrusion is when Hwang casts Marcus as an Asian for his own production of “Face Value”. In the beginning of the play it is well that Henry David is an Asian artist who stands up for the artistic rights for Asian Americans who never had a true shot in making it in American theatre. Now he faces the repercussions of the double standard he places upon the community and is now responsible for the creation of the face swapping of the white to Asian face that the world now sees in Marcus. The choice he makes here on out are now going to reflect Henry’s true face.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
The events are incredibly dependent on the actions of Henry David. The choice to stand up for the Asian Community during the “Miss Siagon” business and him refusing to attend rallies are example of my argument. Yes, he did not ask for his ex-girlfriend to pop up nor his father to offer him the position of director for his father’s bank; but the reactions to events determines his position in life and his views about racial identity. Basically, the choice to pull the race card and the freedom of art card are common arguments Henry David makes. He protests the Broadway production of “Miss Siagon”, then he gets offended with his co-director about questioning Marcus’s facial features not being Asian enough, then Henry David getting overly upset about Marcus not being Asian enough to be a part of the Asian community.
4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The question that must be answered ( that technically would not be answered at the end because it is a question Henry David probably cannot answer to this day ) … Does it even matter if one is a true or more true Asian? In the field of art, should one even be excluded because someone may not possess the true definition of Asian?
5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
Henry David wants to maintain an authentic identity in the Asian American community since a lot is at stake for him considering he has accomplished tremendous success in the field of theatre. The true obstacle that stands in his way are the actors who have mixed identities that technically ( in Henry David’s eyes ) are not Asian but bring true heart and breathe to his characters. He has a polished philosophy but when anyone questions it, his reactions do not ring true to his thought. He experiences Him against himself since he does a lot of self-reflecting because he knows that his actions do not coincide with his perspective. Him against society since he is unusually concerned with his reputation in his community that his pride shatters when others think ill of him.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face.
The most theatrical moment for me was the decision for Marcus to expose his true identity to the public after the campaigning incident. Another one that was slightly less intense was the revelation of Marcus playing the iconic role of the King in “Th